Archives Directory for the History of Collecting in America
Archives related to: Greenberg, Clement, 1909-1994
| title | Clement Greenberg papers, 1937-1984 | repository | Archives of American Art |
| description | Letters (1937-1984), business records (1959-1983), notes and writings (1967-1983), a print (1973), photographs, and printed material (1968-1983) document the career and relationships of art critic Clement Greenberg, including his role as trustee of the David Smith estate. REELS N737R and N69-91R: Letters to Greenberg from artists, art dealers, publishers, and other colleagues concern business matters and professional projects (1939-1969). Correspondents include Peter Blanc, Jack Bush, John Canaday, Anthony Caro, Gene Davis, Richard Diebenkorn, Thomas Downing, James A. Elliot, Paul Feeley, James Fitzsimmons, Adolph Gottlieb, Patrick Heron, Roger Hilton, Hans Hofmann, Wolfgang Hollegha, Paul Jenkins,Max Kozloff, Ernest Lindner, Morris Louis,Howard Mehring, John Latham, Kenwoth Moffett, Robert Murray, Charles Pollock, Jules Olitski,David Smith, Anne Truitt, William Turnbull, and Leslie Waddington. REEL N70-7R: Letters to Greenberg from authors, literary and art critics and artists in the United States, Canada, and England discuss a wide range of personal, aesthetic, and business matters (1937-1966). Principal English correspondents on art are George Barker, David Gibbs, Leslie Waddington and Patrick Heron. Canadian artists include Jack Bush, Kenneth Lochhead and Ernest Lindner. Among American artists, Weldon Kees, Robert Flint, Charles Pollock, Robert Motherwell, Barnett Newman, Morris Louis, Lenita Manry, Margaret Marshall, David Riesman, Walter Pach, Peggy Guggenheim,Daniel Fuchs, Marianne Moore, David Smith and Clyfford Still are the main correspondents. Suggesting the extent of Greenberg's professional and personal acquaintances are letters from Wystan Hugh Auden, Cyril Connolly, Jean Dubuffet, Frederick Kiesler, F. R. Leavis, Jacques Lipchitz, Henri Matisse, and Jean Stafford. UNMICROFILMED: Letters to Greenberg from artists, art dealers, publishers, and other colleagues discuss personal and professional matters (1937-1984). Some letters contain illustrations, writings, clippings, and photographs of artists and their works. Correspondents include Walter Darby Bannard, Jack Bush, Anthony Caro, Gene Davis, Piero Dorazio, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, David Smith, Anne Truitt, and Leslie Waddington. Business records consist of legal documents concerning the Mark Rothko trial (1974), loan agreements (1963-1974), royalty statements (1974-1983), and receipts (1959-1981). Among the notes and writings are Greenberg's accounts of travel in India and Japan and lists of artists (1979-1983). An etching is by Kurt Wisneski (1973). Printed material includes 9 clippings (1969-1982), an exhibition catalog (1977) and posters. Material concerning the David Smith estate consists of letters (1965-1982), notes (1966-1969), conservation reports (1977), price lists and inventories (1965-1980), critical reviews, a clipping (1974), and photographs of Smith's works (1976). Bio / His Notes: Art critic; New York, N.Y. Died May 7, 1994. Greenberg was a highly influential critic of the 1940s who advocated the formal purity of flatness in modernism. Greenberg studied at the Art Students League and at Syracuse University. |
| extent | 8.6 linear ft. (partially microfilmed on 3 reels |
| formats | Microfilm Business Papers Personal Papers Correspondence Writings |
| access | Material on estate of David Smith; loan agreements, 1963-1974; a selection of documents concerning sales; and correspondence with Peter Fuller and Nuala O'Faolain: ACCESS RESTRICTED; written permission required Use of original papers requires an appointment. |
| record source | http://www.siris.si.edu/ |
| finding aid | Lists of correspondents are available at AAA offices. |
| acquisition information | Microfilmed material lent for filming 1968-1969 by Greenberg; several items were subsequently donated with additional unmicrofilmed material, 1984-1985, by Greenberg. |
| updated | 03/16/2023 10:30:03 |
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| title | Norman Carton papers, 1949-1980. | repository | Archives of American Art |
| description | Correspondence; writings and notes; financial data; sketchbooks; photographs; exhibition catalogs and clippings. UNMICROFILMED: Correspondence with galleries and others; writings and notes; consignment and sales statements and other financial records from the Gres Gallery and the Martha Jackson Gallery, 1955-1961; a guest book from exhibitions sponsored by the Rainbow Art League of New York, 1973-1975; 3 sketchbooks, containing watercolor sketches and ink, charcoal, pencil, and crayon drawings; exhibition announcements and catalogs; clippings, and other printed materials; and photographs of Carton, Willem de Kooning, Rene d'Haroncourt, John Ferren, Clement Greenberg, John Hultberg, Martha Jackson, Samuel M. Kootz, Betty Parsons, Milton Resnick, works of art by Carton, and gallery installations. REEL 2787: Fifteen exhibition catalogs, twelve clippings, a resume, and a photograph of Carton in his studio with a model. Bio / His Notes: Painter and instructor; New York, N.Y. |
| extent | 0.8 linear ft. (partially microfilmed on 1 reel) |
| formats | Microfilm Correspondence Writings Notes Sketchbooks |
| access | Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment and is limited to Washington, D.C. storage facility. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1978 and 1984 by Mr. & Mrs. Norman Carton. |
| updated | 11/12/2014 11:30:10 |
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| title | Morris Louis and Morris Louis Estate papers, 1937-2001. | repository | Archives of American Art |
| description | Biographical material, correspondence, photographs,receipts, banking and tax records, notes, writings, printed material, and a sample of canvas reflect the career of Morris Louis. The remaining half, documenting the administration of his estate, includes general correspondence, notes, writings, clippings, photographs, interview transcripts, and business records. In the personal papers, biographical accounts, 1964-1966, outline the life histories of Morris and Marcella Louis. General correspondence, 1941- 1962, is primarily from colleagues, including Helen Frankenthaler and Clement Greenberg. There is a postcard from David Smith, 1962, and a letter from the André Emmerich Gallery enclosing pages from a guest book signed by Leonard Bocour, Donald Judd, Kenneth Noland, Jules Olitsky, David Smith, and Frank Stella, among others. Business records consist of receipts, 1951-1963, for household expenses, studio rent, travel, shipment of art work, and Louis' art supplies, banking records, 1945-1964, such as deposit slips, bank statements, and cancelled checks, and tax records, 1951-1962. Seven notebooks, 1956-1962, record the payments, attendence, and addresses of Washington Workshop Center for the Arts students, studio rent, travel expenses, and brief annotations on Louis' art work. Notes also include lists of art work, 1960-1962, and a recipe card written by Louis. Writings consist of typescripts "Morris Louis" by Dan Robbins, and a dialogue with Dr. Ira Lewis. Printed material consists of clippings, 1950-1962, exhibition announcements and catalogs, 1937-1962, and brochures, 1950-1960, including one for the Washington Workshop Center for the Arts. There are also 5 photographs of the Rome-New York Art Foundation exhibition, 1960, and a sample of canvas labelled "No. 26 Dawn". Related to the estate are letters, 1962-1986, from Leonard Bocour, Helen Frankenthaler, Clement Greenberg, a family friend who relates an account of Louis' death, and others. In addition, correspondence is included in files on art historian Diane Upright (Headley) and attorney I.S. Weissbrodt, along with business records, notes, and printed material, and several letters from Louis and one from Frankenthaler in a file on the Bernstein family. The bulk of the estate records consist of files on 30 galleries and museums, among them the Andre Emmerich Gallery, Baltimore Museum of Art, Bezalel Academy of Arts and Design, the Hirshhorn Museum, the Israel Museum, and the Museum of Modern Art in Shiga, Japan, containing mostly correspondence, business records, printed material, notes, and a few photographs documenting exhibitions of works of art. Also found are transcripts of interviews about Louis, 1966-1979, with Leonard Bocour, Marcella Brenner, James Collins, John Elderfield, André Emmerich, Helen Frankenthaler, Michael Fried, Diane Headley, Joe Helman, Helen Jacobson, James Lebron, Kenworth Moffett, Gifford and Joann Phillips, Lawrence Rubin, Charles Schucker, Anne Truitt, and Nicholas Wilder, and one from an interview for National Educational Television with Brenner, Frankenthaler, Clement Greenberg, Helen Jacobson, and Kenneth Noland. Remaining estate records include files on the Morris Louis Film Project, 1979-1985, and the National Symposium of Art Museum Docents, 1983; miscellaneous notes, essays "As I Remember Morris Louis", by an unidentified author, and "Morris Louis: A Painter 'Recollected in Tranquility'" by Doris Margaret Thornton, 1972, clippings, 1966-1988, and an undated photograph of Louis. Other photographs are of the Brenners, Diane Upright Headley, James Lebron looking at Louis' work, 1980, and one of Roy Lichtenstein's variation on a Louis "Unfurled", 1973. ADDITION: The bulk of the addition consists of printed material including newspaper clippings, magazine articles, catalogs, and miscellaneous press material compiled from exhibitions and projects organized after the death of Louis. Correspondence concerns Louis's estate and is with Marcella Louis Brenner and the Andre Emmerich Gallery, the Morris Louis estate lawyer I.S. Weissbrodt, and various museums that organized Louis exhibitions after his death. Photographs are of Louis' exhibitions. Other files include transcripts of interviews with Anita Faatz, Jeff Doring, WETA, and Pierce Prods. Bio / His Notes: Morris Louis (1912-1962) was a painter in Washington, D.C. Born Morris Louis Bernstein in Baltimore, Md. Attended the Maryland Institute from 1929 to 1933. He lived in NYC from 1936 to 1945, where he participated in the WPA Easel Painting Project, and adopted the name Morris Louis. In 1947, two years after returning to Baltimore, he married Marcella Siegel, an educator, and they moved to Washington, D.C. in 1952. Louis was influenced by the work of Helen Frankenthaler and he began creating his color-stained unprimed canvases categorized as Veils (1954- 1959), Florals (1959-1960), Unfurleds (1960), and Stripes (1961-1962). Through his colleague, Kenneth Noland, Louis met Clement Greenberg who was influential in popularizing Louis' work, which only began to gain notoriety at the time of his death from lung cancer in 1962. Marcella Louis became administrator of his estate of paintings, as a result of an agreement with his family, the Bernsteins. In 1964 she married scientist Abner Brener. Additional forms: 35mm microfilm reels 4988-4994 available for use at Archives of American Art offices and through interlibrary loan. Reproduction: All but 10 letters by Louis are photocopies. All correspondence with Bernstein family is photocopies. Location of Original: Letters of Morris Louis to and from the Bernstein family: originals are in the possession of I. S. Weissbrodt. |
| extent | 6.3 linear ft. (on 7 microfilm reels) ADDITION: 5.7 linear feet |
| formats | Business Papers Personal Papers Correspondence Interview Photographs |
| access | Use of original material requires an appointment. |
| record source | http://www.siris.si.edu/ |
| finding aid | Finding aid available at AAA offices. |
| acquisition information | Donated in 1986 and 1988 by Marcella Brenner, Louis' widow and again in 2009 by Brenner via Ann M. Garfinkle, Executor. Twenty-five exhibition catalogs included in the Louis Estate papers were transferred to the NMAA/NPG library in 1988. Microfilmed in 1994 with funding provided by grants from Jack Amsterdam, the Bezalel Foundation, Inc. (Henry Sonneborn III), Ms. Miriam Klein, Philip L. Milstein, Norman M. Morris, and Solomon Star, Esq. |
| updated | 11/12/2014 11:30:10 |
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| title | Gene Davis papers, 1925-1992. | repository | Archives of American Art |
| description | Summary: Biographical material; estate papers; correspondence; business records; interviews; writings; notes; gallery files; sketches; printed material; videotapes; and photographs. Included are: biographical writings, a resume, and awards; correspondence and legal documents regarding the estate of Gene Davis; correspondence, undated and 1942-1985, with curators, dealers, critics, artists, galleries, museums, and others; business records, 1932-1965, including loan agreements, receipts, and financial statements; transcripts of interviews conducted by Jacob Kainen, Lisa Lyons, Barbara Rose, Donald Wall, John Gerard, and Walter Hopps (includes an audio tape); writings by Davis, undated and 1941-1980, including stories written as a White House reporter and essays on art; writings by others, 1964-1965, including Gene Baro, Donald Wall, Sharon Michael, Ken Jackson and Steven Naifeh; notes; gallery files on Charles Cowles Gallery, Feldman Gallery, Henri Gallery, Hokin Gallery, Pense Gallery and the Washington Project for the Arts "Child and Man" exhibition; 4 sketches by Davis, 1930-1968; printed material, 1951-1990, including clippings, exhibition catalogs, newsletters, arts calendars, a book, GENE DAVIS, edited by Donald Wall, and miscellaneous; 4 videotapes (VHS) of the National Museum of American Art's 1987 Davis memorial exhibition; and photographs, 1925-1985, of Davis, his wife Florence, his studio, friends and family, travel, art work, exhibitions, and of presidents Truman, Eisenhower, and Kennedy; and three photograph albums containing similar photographs. ADDITION: Primarily files of printed material and some correspondence (ca. 10 ft.); slides; photographs of paintings; films; video tapes; and sound recordings about Davis and his work. Bio / His Notes: Painter; Washington, D.C. Died 1985. Associated with the Washington Color School of painting. |
| extent | 10.3 linear ft. Addition: 10.0 linear ft. |
| formats | Business Papers Personal Papers Correspondence Photographs Estate Papers |
| access | Use of original material requires an appointment. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated by Gene Davis, 1981, and by his wife, Florence, 1986, and the estate, 1993. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. |
| updated | 11/12/2014 11:30:10 |
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| title | Alan R. Solomon papers, 1930-1972. | repository | Archives of American Art |
| description | Biographical material, correspondence, interview transcripts, files on art and artists, writings, photographs, financial records, printed material, and miscellany regarding the career of Alan Solomon as an art historian and educator. REELS 3921-3928: Biographical material consists of resumes, diplomas and academic transcripts. Personal and business correspondence is with galleries, museums, universities, colleagues and friends, including Harvard University, Cornell Univeristy, Jim Dine, Audrey Sabol, Robert Rauschenberg and others. Transcripts of twenty interviews with artists include Kenneth Noland, Leo Castelli, Jim Dine, Helen Frankenthaler, Clement Greenberg, Roy Lichtenstein, Claes Oldenburg, Andy Warhol, Robert Rauschenberg, among others. Writings are by Solomon and others on a variety of topics such as the art scene in New York, Jim Dine, Joan Miro, Pablo Picasso and Expo 67. Photographs consist of artists and works of art. Financial records include invoices for travel, receipts, and loan agreements for works of art. Printed material includes newspaper clippings, and exhibition catalogs and announcements. Also included are address books, engagment calendars, planning books and a guest book. ADDITION: Files on primitive and contemporary art and artists Francisco de Goya, Peter Paul Rubens, and others. Also included are writings by Solomon on a variety of topics, as well as three bound leather books, entitled, "Romanzo, parts I, II and III." Teaching material consists of lectures by Solomon on Gupta sculpture and artists Rubens and Courbet, among others. Photographs are of Solomon's travels abroad and works of art by a variety of artists. Financial records include petty cash receipts, invoices for travel, and related correspondence. Printed material consists of newspaper clippings, announcements, catalogs, and programs regarding a variety of topics including theater, exhibitions, museums, design, and contemporary and primitive art. Bio / His Notes: Art historian, museum director, educator; New York, N.Y. Solomon established the Andrew Dickson White Art Museum at Cornell University in 1953, and served as its director until 1961. He also taught on the faculty of Fine Arts at Cornell. After moving to New York City in the early 1960s, Solomon undertook many diverse curatorial and research projects related to contemporary American art, particularly the New York City art scene and abstraction. Additional forms: 35mm microfilm reels 3921-3928 available at Archives of American Art offices and through interlibrary loan. |
| extent | 5.8 linear ft. (on 8 microfilm reels) Addition: 5.0 linear ft. |
| formats | Microfilm Correspondence Financial Records Interview Photographs |
| access | Patrons must use microfilm copy. Use of unmicrofilmed material requires an appointment. |
| record source | http://www.siris.si.edu/ |
| finding aid | Finding aid for material on reels 3921-3928 is available in all AAA offices. |
| acquisition information | The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to AAA in 1974 and in 2007. |
| updated | 11/12/2014 11:30:10 |
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| title | Ethel Schwabacher papers, 1940-1975. | repository | Archives of American Art |
| description | Biographical material, letters, artist files, interview transcripts, audio tapes, notes, writings, printed material, photographs, and motion picture film document Schwabacher's research and writings on her former teacher Arshile Gorky, colleague John Ford, and other artists, as well as her own painting career. REELS N69-64-N69-65: Letters, 1956-1968, are from colleagues, including one or two each from Giorgio Cavallon, Clement Greenberg, Barnett Newman, Richard Pousette-Dart, Oscar Williams (a picture postcard of himself with Dylan Thomas, 1958) and letters, 1961-1962, concerning the retrospective for Arshile Gorky at the Venice Biennale. Transcripts are from interviews with Schwabacher, conducted by Dr. Osis, 1963, and Colette Roberts, 1965. Writings include a typescript for a lecture on Gorky, given at the Wilmington Society of Fine Arts, 1961. Notes, 1948-1967, include lists of addresses, committees, and art works by Schwabacher, and 8 notebooks concerning a written work entitled "1948..........", and books about Gorky, Newman, and Rothko. There are also notes and writings in a file for art historian Lloyd Goodrich, 1953-1957, containing typescripts about Gorky by Goodrich, Clement Greenberg, and Meyer Schapiro. Printed material 1947-1964, consists of clippings and exhibition catalogs. REEL 3975: A 1 p. biographical sketch, 1967, gives an outline of Schwabacher's career. A transcript, 1965, is of an interview conducted by Colette Roberts. Photographs are of Schwabacher's art work completed between 1954 and 1964. Three reels of 16mm motion picture film, undated, include one which is untitled, and "Wolf", and "Brookdale Farm". REELS 4986-4987: Letters, 1962-1975, consist primarily of 35 letters from Ethel Baziotes; there are also two from Anna Walinska, Gorky's first New York dealer. Artist files, 1947-1974, contain notes, writings, printed material, and photographs concerning John Ford, Arshile Gorky, Jose Guerrero, and Jeanne Reynal. The file on Ford, 1971-1974, includes 22 letters from Ford (2 are illustrated) and 4 audio cassette tapes of Schwabacher's verbal notes and Ford's comments. The file on Gorky, 1957-1972, includes a study for his illustrations for Andre Breton's Protecting Young Cherry Trees From Hares (1946), and a photograph of Gorky. Notes, 1959-1974, consist of biographical material concerning Schwabacher, 4 notebooks, including those concerning Schwabacher's writings "Paradise of the Real" and "Conflict of Freedoms" and notes for "1948.........", include 2 letters from Richard Pousette-Dart, and lists and photographs of works by Willem De Kooning, Hans Hofmann, Franz Kline, Robert Motherwell, Barnett Newman, Jackson Pollock, Ad Reinhardt, Mark Rothko, Anne Ryan, Clyfford Still, Bradley Walker Tomlin, and Jack Tworkov. Writings by Schwabacher, 1966, consist of typescripts for "Conflict of Freedoms" and "The Portrait as Image". Printed material, 1947-1974, consists of clippings, exhibition announcements and catalogs for Schwabacher and others, and 2 reproductions of art works. Photographs, undated, are of art work by Schwabacher. Additional forms: 35mm microfilm reels N69-64-N69-65, 3975, and 4986-4987 available at Archives of American Art offices and through interlibrary loan. Bio / His Notes: Painter, art historian; New York, N.Y. Schwabacher studied at the National Academy of Design, the Art Students League, and in Europe before becoming a painting student under Arshile Gorky in New York, 1934-1936. Schwabacher wrote Arshile Gorky (1957), with a preface by Lloyd Goodrich and introduction by Meyer Schapiro, and a biography, John Ford, Conquistador, about her painting colleague and friend. |
| extent | 2.8 linear ft. (microfilmed on 5 reels) |
| formats | Microfilm Correspondence Artist Files Interview Writings |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| finding aid | Reels 4986-4987: Finding aid available in AAA offices. Location of Original: Reels N69-64-N69-65: Originals returned to lender, Ethel Schwabacher, after microfilming. |
| acquisition information | Material on reels N69-64-N69-65 lent for microfilming 1966 by Schwabacher; all but a few miscellaneous items were subsequently donated 1974-1975 with material filmed on reels 4986-4987. Material on reel 3975 donated 1984 by Syracuse University, which had received it from Schwabacher. |
| updated | 11/12/2014 11:30:10 |
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| title | Museum without walls. Cubism : transcript, [ca. 1971]. | repository | Archives of American Art |
| description | A typescript of Greenberg's sound track narration for the "Cubism" portion of the film series MUSEUM WITHOUT WALLS, Universal Studios. Bio / His Notes: Art critic; New York, N.Y. Highly influential critic of the 1940s who advocated the formal purity of flatness in modernism. Greenberg studied at the Art Students League and at Syracuse University. Additional forms: 35mm microfilm reel 2813 available at Archives of American Art offices and through interlibrary loan. |
| extent | 8 p. (on partial microfilm reel) |
| formats | Typescript |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated by Charles Kessler, a member of the Universal Studios film crew. |
| updated | 11/12/2014 11:30:10 |
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| title | Robert Taylor papers, 1952-1990. | repository | Archives of American Art |
| description | Ca. 600 letters, 1961-1990, from artists, authors, poets, editors, curators, publishers, critics and others, primarily in response to Taylor's reviews, columns, and books, and some supplying information for his columns. Among the correspondents are Darby Barnard, Claire Leighton, Will Davenport, Fritz Eichenberg, Clement Greenberg, Jack Levine, Patrick McGilligan, Henry Schwartz, Beverly Swan, William Styron, John Updike, and Tom Wolfe. A 1983 letter from Davenport encloses a mss. of a paper he wrote in 1956, "Search for the Most American of American Painters." Also included are 5 scrapbooks, 1952-1957, containing clippings of Taylor's reviews and columns, and letters of appreciation; and loose reviews and articles by Taylor written for various Boston area arts magazines. Enclosed in the correspondence are a few photographs, including two of Taylor, 3 of Carl Nelson, one of G.D. Hackett and Andre Kertisz, and one of Fred Allen and Herman Wouk. Bio / His Notes: Art, literary, and music critic; author; educator; lecturer, Boston, Mass. Wrote for the Boston Herald, 1952-1967, Boston Globe, 1968-1989. Columns for New Boston Review, later appearing in Atlantic Monthly, were written under pseudonym Count Bibesco. |
| extent | 2.0 linear ft. |
| formats | Correspondence Scrapbooks Photographs |
| access | Unmicrofilmed; use requires an appointment and is limited to Washington, D.C. storage facility. |
| record source | http://www.siris.si.edu/ |
| finding aid | List of selected names of correspondents available at AAA offices. |
| acquisition information | Donated 1984 and 1990 by Robert Taylor. |
| updated | 11/12/2014 11:30:10 |
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| title | Ludwig Sander papers, 1910-1975. | repository | Archives of American Art |
| description | Found are biographical materials primarily consisting of army records; correspondence with family and colleagues discussing exhibitions and other art-related activities; diaries; personal scattered business records; address books and art history typescripts; sketchbooks and illustrations for magazines; photographs of Sander, his colleagues, his travels, and exhibition openings; and miscellaneous printed material. The collection Sander's career and interactions with some of the most important artists of 20th century modern art. Chronological correspondence primarily consists of letters from Sanders to his mother during his army service, and letters from his colleagues discussing exhibitions and other art-related activities. Correspondents include Clement Greenberg, Philip Guston, Yvonne Hagen, Gottfried Honegger, Sam Kootz, and Vaclav Vytlacil. There are single letters from Georgi Daskaloff, Philip Johnson, Richard Neutra, George Plimpton, and Maximilian Schell, and an invitation to a croquet party from Willem and Elaine De Kooning, Sander, Nancy Ward, and Franz Kline. Photographs of Sander include one with his mother and several with his Army company. Photographs of exhibition openings include James Brooks, Clement Greenberg, Conrad Marca-Relli, Esteban Vicente, and Hugo Weber. Photographs of Sander with colleagues include Leo Castelli, Elaine De Kooning, Willem De Kooning, and Harold Rosenberg. This subseries sometimes includes related photographs of their surroundings from the same roll of film. There are also miscellaneous travel photographs. Bio / His Notes: Painter; New York, N.Y.; d. 1975. |
| extent | 2.8 linear ft. (partially filmed on 3 reels) reel 32 |
| formats | Microfilm Legal Papers Correspondence Exhibition Files Business Papers |
| access | Microfilmed materials must be consulted on microfilm copy |
| record source | http://www.aaa.si.edu/collections/findingaids/sandludw.htm |
| finding aid | Electric finding aid available |
| acquisition information | Material on reel 32 was lent 1970 by Ludwig Sander. A dozen exhibition announcements and catalogs were subsequently donated with the unmicrofilmed material by Kate Sander, Sander's widow, in 1975. Location of Original: Portions of reel 32: Originals returned to lender, Ludwig R. Sandler, after microfilming. |
| updated | 11/12/2014 11:30:10 |
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| title | Erle Loran papers, 1912-1999. | repository | Archives of American Art |
| description | The papers of Southern California Bay area painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne. Bio / His Notes: Southern California Bay-area painter, writer, and teacher Erle Loran (1905-1999) was born in Minneapolis, Minnesota, but spent most of his life painting and teaching in the Bay area of Southern California. Loran attended University of Minnesota (1922-1923) and Minneapolis School of Art (1924-1926), where he received the Chaloner Foundation Prize (1926) which enabled him to study in France for three years. Particularly interested in Cézanne, he had the good fortune to live in his studio where he immersed himself in Cézanne’s world, an experience that was crucial to the development of his artistic vision. Upon his return to the U.S. he published many articles on Cézanne that developed into his pioneering book, "Cézanne’s Composition" (1943). In 1937, he joined the art department of the University of California, Berkeley, retiring emeritus professor of art in 1981. Loc. of Assoc. Material: Separated materials: Photographs of artwork by Erle Loran and two clippings of reproductions of Erle Loran's artwork were loaned for microfilming in 1975 and are available on 35mm microfilm reel 906 at Archives of American Art offices, and through interlibrary loan. These materials are not described in the container listing of the finding aid. Also found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection; and a letter from Loran to Richard Wattenmaker, 1975. |
| extent | 12.6 linear ft. |
| formats | Personal Papers Business Papers Correspondence Writings Artwork |
| access | Use of original papers requires an appointment. |
| record link | http://aaa.si.edu/collections/findingaids/loraerle.htm |
| record source | http://www.siris.si.edu/ |
| finding aid | online |
| acquisition information | Microfilmed material donated 1975 by Erle Loran, except for material on reel 906, which was lent for microfilming. The unmicrofilmed addition was donated 1999 by Mrs. Ruth Schora-Loran, Loran's widow. Location of Original: Reel 906: Originals returned to Erle Loran after microfilming |
| updated | 11/12/2014 11:30:10 |
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| title | David Smith papers, 1926-1965. | repository | Archives of American Art |
| description | Correspondence; sketchbooks; sketches; scrapbooks; exhibition catalogs; photographs; business records; and printed material. Correspondence, mostly routine business dealing with exhibitions, sales, purchases of equipment, and other business matters, and from family and friends in the art world, including Alexander Calder, Herman Cherry, Robert M. Coates, Helen Frankenthaler, Clement Greenberg, Robert Motherwell, Kenneth Noland, George Rickey, Marian Willard and others; sketchbooks, sketches, and notebook, annotated and relating to his sculptural work, 1930s-1940s; lectures, speeches, and writings; an 18 p. transcript of an interview of Smith conducted by Thomas Hess, June 1964; photographs, mostly small snapshots of Smith's work, often annotated with descriptive information; scrapbook materials; articles; exhibition catalogs and announcements; and publications. Bio / His Notes: Sculptor; Bolton Landing, N.Y. Began his career as a painter. Studied at Art Students League. Married artist Dorothy Dehner. Was one of the first sculptors to develop a uniquely American abstract style. Worked in monumental style, incorporating painted metal and welding techniques into his work. Smith died in an automobile accident in May 1965. |
| extent | reels NDSmith 1-NDSmith 6 |
| formats | Correspondence Sketchbooks Scrapbooks Exhibition Catalogs Photographs |
| access | ACCESS RESTRICTED; written permission required. Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| finding aid | Finding aid available at Archives of American Art offices. |
| acquisition information | Lent for microfilming by Rebecca and Candida Smith. |
| updated | 11/12/2014 11:30:10 |
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| title | Ary Stillman papers, 1924-1979. | repository | Archives of American Art |
| description | Summary: Printed material, photographs, correspondence, reminiscences, diaries, and videotapes. REELS 99-100: Photographs; reminiscences; Frances Stillman's diary of a 1952 trip to Europe; and clippings and catalogs. REEL 1772: Correspondence, 1976-1979, between Frances Stillman and Clement Greenberg regarding Ary's work; a 109 page reminiscence, dictated by Stillman and supplemented by Frances, covering his early life, his move to the United States, and subsequent trips abroad; excerpts from Frances' diary; and Stillman's remarks about his art. REEL 1773: A list of museums with work by Stillman; clippings and an article on Stillman; 3 exhibition catalogs; and a scrapbook, 1967-1972, documenting the establishment of the Stillman-Lack Foundation, containing notes by James Chillman, Jr., Director Emeritus of the Museum of Fine Arts, Houston, the first catalog published by the foundation, clippings, exhibition catalogs, and announcements from Stillman exhibitions. VIDEO RECORDINGS: Two VHS videos. One, produced by Pearlman Productions, Houston, Tex., 1983, is excerpts of a conversation Sid Lash held with Frances Stillman on her husband's paintings for KHOU-TV, Houston, February 20, 1969 (10 minutes). The other,"Ary Stillman: 58 years of painting," was produced and directed by Henry L. Thomas, director of Technical Instruction for the Spring Branch Independent School District, and narrated by Frances Stillman (55 min.) In both videos, Mrs. Stillman discusses her husband's paintings as they are shown. Bio / His Notes: Painter; New York, N.Y. Born in Russia, he emigrated to the United States at the turn of the century. Digital Reference: http://www.stillmanlack.org/ Additional forms: 35mm microfilm reels 99-100 available for use at Archives of American Art offices and through interlibrary loan. 35mm microfilm reel 1772 Unavailable through interlibrary loan until restriction is lifted. 35mm microfilm reel 1773 available for use through interlibrary loan. |
| extent | 0.4 linear ft. (microfilmed on 4 reels) Unmicrofilmed: 2 videocassettes. |
| formats | |
| access | Reel 1772: ACCESS RESTRICTED: written permission required. Microfilmed portion must be consulted on microfilm. Use of videotapes requires an appointment. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Material on reels 99-100 and 1773 (fr. 5-57) donated 1967 and 1980 by Frances Stillman, Ary Stillman's widow and president of the Stillman- Lack Foundation (http://www.stillmanlack.org/); she donated the videos in 1985. Material on reel 1772 and the scrapbook on reel 1773 were lent for microfilming by the Stillman-Lack Foundation, 1980. Location of Original: Reel 1772 and scrapbook on reel 1773: Originals in the Stillman-Lack Foundation (http://www.stillmanlack.org/), Houston, Tex. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Anita Faatz interviews, 1970-1971. | repository | Archives of American Art |
| description | Interviews of twenty-six individuals associated with the painter Morris Louis conducted by Anita Faatz. Many of the interviewees were Louis' students and friends. They speak of their relationships with Louis, his personality, work habits, and views on art. Interview tapes are available for all interviewees except for Kenneth Noland, who asked not to have his interview recorded. Only Faatz's notes, made immediately following the interview, are available. In addition, written commentary about Morris Louis exists for three of the interviewees: Pauline Shereshefsky, Sybil Meyersburg, and Helen Jacobson. Bio / His Notes: Social worker and educator, died 1999. At the time of the interview project, she was Director of the Otto Rank Association, Doylestown, Pennsylvania. General Note: Part of Clement Greenberg interview is on the Leonard Bocour tape. Betty Schach interview is on the Betty Carter tape. William Rubin interview is on the Lawrence Rubin tape. Annie Siegel interview is on the Jeannette Kear tape. |
| extent | Phy. Description: 23 sound cassettes. K.Noland: 1 transcript (no tape exists) |
| formats | Sound Recording |
| access | ACCESS RESTRICTED; written permission required of the person interviewed AND of Marcella Brenner. In cases in which the interviewee is deceased, only Marcella Brenner's permission is needed. Untranscribed interviews; use requires an appointment and is limited to Washington, D.C. office. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1976 by Marcella Brenner. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Mitch Tuchman papers related to the book Painters Painting, 1980-1989. | repository | Archives of American Art |
| description | Papers related to Tuchman's co-authoring with Emile de Antonio the book Painters Painting: A History of American Modernism in the Words of Those Who Created It (Abbeville Press, 1984). The book was based on uncut transcripts and the film script from de Antonio's 1972 film Painters Painting, inspired by the Museum of Modern Art's exhibition, New York Painting and Sculpture: 1940-1970, curated by Henry Geldzahler. Included are correspondence; transcripts of interviews conducted by de Antonio of painters, critics, curators, and collectors; notes; drafts of the book; and a subject card file. Interviewees include: Josef Albers, Leo Castelli, Willem de Kooning, Helen Frankenthaler, Henry Geldzahler, Clement Greenberg, Thomas Hess, Jasper Johns, Philip Johnson, Hilton Kramer, Philip Leider, Robert Motherwell, Louise Nevelson, Barnett Newman, Kenneth Noland, Jules Olitski, Philip Pavia, Larry Poons, Robert Rauschenberg, Larry Rivers, William Rubin, Ethel and Robert Scull, Frank Stella, and Andy Warhol. Bio / His Notes: Tuchman is an author and editor; Los Angeles, Calif. |
| extent | 0.8 linear ft. |
| formats | Correspondence Interviews Manuscript Subject Files Transcript |
| access | Unmicrofilmed; use requires an appointment and is limited to AAA's Washington, D.C. office |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1994 by Mitch Tuchman |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Pat Lipsky papers, 1995. | repository | Archives of American Art |
| description | Two transcripts relating to Lipsky's personal relationships with people associated with Jackson Pollock. Included are: a 21 p. transcript of a talk given by Lipsky, July 1995, "What Tony and Lee and Clem Told Me, A Reminiscence," [Tony Smith, Lee Krasner and Clement Greenberg]; and a transcript of an interview with Lipsky (interviewer unidentified) on Greenberg's visit to her studio, entitled, "Clement Greenberg in the Studio." Bio / His Notes: Painter; New York. |
| extent | 2 items. |
| formats | Transcript Interview |
| access | Use requires an appointment. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1997 by Pat Lipsky. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | John Held papers relating to Mail Art, [circa 1960-2006]. | repository | Archives of American Art |
| description | Correspondence with artists, works of art, interviews, and printed material relating to Mail Art compiled by John Held Jr. to create his Modern Realism Archive and Stamp Gallery. Correspondence is from over 5000 artists, and includes exchanges in the Mail Art network over a twenty-five year period, including both theoretical discussions with all major participants in the field, as well as "mail as art" envelopes and collaged postcards decorated with rubberstamps and adorned with artists postage stamps. Also included are 83 sheets of artist postage stamps (Artistamps) by a variety of artists, including Held. Printed material includes exhibition catalogs, posters, periodicals and zines, magazines and books. Video interviews are with Clement Greenberg, John Cage, Ray Johnson, and others conducted by Held and an interview with Held regarding Traveling Mail Art. Also found is biographical material on Held including a typewritten journal, travel diaries, essays, and annotated biblographies. Bio / His Notes: John Held, Jr. (the "Jr." is an appropriated addition), b. 1947, became involved in the international Mail Art network in the 1970s, mentored by Fluxus collector Jean Brown and the artist Ray Johnson. Held holds a M.L.S.from the Syracuse University School of Information Science, and has combined his interests in information science and alternative art to form the largest archive of Mail Art in the United States. He is the the author of Mail Art : An Annotated Bibliography (1991: Scarecrow Press), as well as the founder of the Modern Realism Archive and Gallery, an independent study center for alternative arts, which he later moved to San Francisco. The center sought to preserve the record of contemporary avant-garde cultural activity, focusing on Fluxus, Mail Art, Rubber Stamp Art, Video, Stamps, Performance Art, Artists Books and Periodicals. [Not to be confused with illustrator John Held, 1889-1958]. |
| extent | 8.6 linear ft. |
| formats | Correspondence Works of Art Interview Printed Materials |
| access | Open for Research. Use Requires an Appointment. |
| record source | http://www.siris.si.edu/ |
| acquisition information | This collection was donated in increments from 1999-2008 by John Held Jr. Additional postcards (mail art) from various artists are expected in 2009. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Clement Greenberg letters to David Cast, 1981-1987. | repository | Archives of American Art |
| description | Letters to Cast from Clement Greenberg consists of three postcards and two letters between 1981 and 1987. The letters, though brief, reveal Greenberg's characteristic voice and report on the critic's later life as an art celebrity, in which he ruminates on being constantly on the go from lectures to receiving awards. Greenberg also mentions Jules Olitski, Edward Fry, Peter Fuller, and Sydney Freedberg. Bio / His Notes: Greenberg, was an art critic; Cast, a professor of art history; Bryn Mawr College, Bryn Mawr, Penn. |
| extent | 5 items. |
| formats | Correspondence Postcards |
| access | Unmicrofilmed: use requires an appointment and is limited to AAA's Washington, D.C. office. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 2000 by David Cast. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Paul Jenkins papers, 1940-2007. | repository | Archives of American Art |
| description | Correspondence, works of art, writings, photographs, financial material and printed material regarding the career of Paul Jenkins as an abstract expressionist and his involvement with theater. Also included is information regarding Jenkins interest in artists Lynd Ward and Karl Prantl. Correspondence including letters, postcards, invitations, telegrams, faxes, and photocopies is with family, colleagues, art dealers, and art historians including Dore Ashton, Alice Baber, Norman Bluhm, Albert Elsen, Elaine de Kooning, Beauford Delaney, Jean Dubuffet, David Douglas Duncan, Zoe Dusanne, Michael Goldberg, Clement Greenberg, Thomas B. Hess, Philippe Hosiasson, Martha Jackson, Matsumi Kanemitsu, Willem de Kooning, Lee Krasner, Joan Mitchell, Frank O’Hara, Kenneth Sawyer, Mark Tobey, Frank Trapp, and others. Works of art are by Norman Bluhm, Denis Bowen, Thomas Erma, Milton Fox, Pierre Gruneberg, Matsumi Kanemitsu, Paul Kanemitsu, Jean-Louis Prat, Muriel Silverstein, N. Hayden Stubbing, Gerard Thalman, Andre Verdet, and George Wittenborn among others. Writings include manuscripts by Jenkins and others; and travel diaries kept by Jenkins while traveling to China, Russia, and France, and a travel diary kept by Lili Verame, a friend of Jenkins, while traveling to China. Photographs are of Jenkins, colleagues, and exhibition installations. Financial material includes bills and bank statements. Printed material includes press releases, newspaper articles, and death notices. Miscellaneous material includes bills of lading, a signed guest book from a solo exhibition by Jenkins at the Tokyo Gallery, and various membership cards. Also included are correspondence and 38 photographs of the woodcut series "God’s Man" by Lynd Ward and photographs and correspondence on a sculpture created by Karl Prantl and owned by Jenkins. Bio / His Notes: Paul Jenkins (1923- ) is an abstract expressionist, painter, and playwright in New York, N.Y. |
| extent | 11.0 linear ft. |
| formats | Correspondence Works of Art Writings Photographs Financial Records |
| access | Letter from Paul Jenkins to Norman Bluhm, circa 1966 ACCESS RESTRICTED; use requires written permission. Entire Authorization to quote or reproduce for the purposes of publication requires written permission from Suzanne or Paul Jenkins, 169 East 94th Street New York, N.Y. 10128. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 2007 and 2008 by Paul and Suzanne Jenkins. Additions are expected in 2010. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Jackson Pollock and Lee Krasner papers, circa 1905-1984. | repository | Archives of American Art |
| description | Papers of Jackson Pollock and Lee Krasner document both the artists' careers and Krasner's involvement related to Pollock's exhibits, publications and sales after his death. Included are photographs, biographical material, correspondence, writings by others, research material collated by James Valliere, printed material, scrapbooks, artwork by others, and audio and video recordings of interviews of Pollock and Lee Krasner. REELS 3046-3049: Biographical material; letters, 1929-1956, from Thomas Hart Benton, Alfonso Ossorio, Tony Smith, Clyfford Still, and others; correspondence, 1956-1975, between Pollock's widow, painter Lee Krasner, and galleries, museums, publishers and others; notes and doodles; typescripts of books and articles about Pollock; transcripts of interviews about Pollock conducted by James Valliere, 1963-1968, with James Brooks, Clement Greenberg, Reuben Kadish, among others; scrapbooks of printed material; clippings, exhibition catalogs and announcements, 1943-1973; ca. 300 photographs, 1914-1969, of Pollock, his family, friends, studio, artwork and exhibition installations; a guest book, 1950; and a list of works restored and owners of paintings. REELS 3771-3780 (Krasner's papers): Biographical material including awards, address books, and mementos from a trip to England; correspondence, undated and 1941-1984; interviews; miscellaneous writings about Lee Krasner; notes and lectures written by Krasner; business records including sales and accounts from the Robert Miller Galleries, 1981-1982, and material from the "Lee Krasner Retrospective", 1983; financial records, 1967-1977; inventories from the Marlborough Gallery, the Pace Gallery, and the Robert Miller Gallery; price lists; mailing lists; guest list, 1982, for the Robert Miller Gallery; a scrapbook, 1965, from the Whitechapel Gallery exhibition; exhibition catalogs, 1942-1984 and announcements; press releases; clippings and magazine articles; miscellaneous printed material (oversize posters have not been microfilmed); photographs, undated and 1929-1984, of Lee Krasner and of works of art; and negatives and transparencies. Material (ca. 2.0 linear ft.) relating to Jackson Pollock, undated and 1905-1984, consists of correspondence, mainly letters to Krasner concerning Pollock; business records; printed material, 1905-1983; and photographs, undated and 1979. UNMICROFILMED: Audio and Video recordings include two phonograph records of an interview of Lee Krasner conducted by John Gruen, 1964, for the Caspar Citron Show (duplicated on 1 cassette); reel-to-reel tapes of James Valliere's untranscribed interviews about Pollock with Alfonso Ossorio, Burton Rouche, William Wright, and Willem de Kooning and reel-to reel, transcribed interviews with Daniel T. Miller, Mrs. Sanford McCoy, Clement Greenberg, and James Brooks; an untranscribed interview of Lee Krasner on the Martha Dean radio show. Motion picture film includes a 16mm film (transferred to video, 30 min., b&w), "Jackson Pollock: A Reconsideration," with Bryan Robertson of the Whitechapel Art Gallery, London. Robertson interviews Lee Krasner and James Valliere, and shows and discusses about 25 Pollock paintings and drawings in chronological order. The film was directed by Bud Myers and produced by Colin Clark for Channel 13/WNDT, Educational Broadcasting, N.Y. Other footage consists of brief outtakes of Krasner and Pollock outside their Long Island home. From the Krasner papers, unfilmed material includes eleven audio tapes, 1971-1980, of interviews with Lee Krasner; 2 video tapes, 1982 and 1983, entitled "Pollock a Beaubourg"; Bio / His Notes: Painters; New York, N.Y. and The Springs, Long Island, N.Y. |
| extent | 15.6 linear ft. (partially microfilmed on 14 reels) reels 3046-3049, reels 3771-3780 |
| formats | Microfilm Correspondence Business Papers Photographs Writings |
| access | Contact repository for restrictions. |
| record link | http://www.aaa.si.edu/collections/jackson-pollock-and-lee-krasner-papers-8943 |
| record source | http://www.siris.si.edu/ |
| finding aid | Online and in respository. |
| acquisition information | Donated 1983 by Lee Krasner, Pollock's widow and in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | William and Ethel Baziotes papers, 1916-1992. | repository | Archives of American Art |
| description | Correspondence, financial material, writings and notes, sketchbook, photographs, slides, printed material, and an interview relating to William Baziotes' career as an abstract expressionist painter. The papers of Ethel Baziotes consist of correspondence and writings mostly dated after William's death regarding exhibitions of her husband's work. REEL N70-21: Published and unpublished articles on Baziotes, including a literary portrait by Donald Paneth, undated; notes and writings by Baziotes, undated; teaching files from Hunter College, 1957, 1960-1962; letters to Baziotes (1940-1969) from: Lawrence Alloway, Alfred Barr, Andre Breton, Clement Greenberg, Peggy Guggenheim, David Hare, Jean Helion, Matta, Maria and Robert Motherwell, Charles Peterson, an invitation from Jackson Pollock, WPA Easel Artists Division, 1940-1941; 3 letters (one illustrated) from William to Ethel, 1940-1941; photocopies of a questionnaire prepared for the Museum of Modern Art, regarding Baziotes' painting "Dwarf", ca. 1951; letters to Ethel Baziotes, 1961-1969; photographs of Baziotes, Ethel, family and friends, including photographs of Baziotes by Francis P. Lee, Hans Namuth, and Peter A. Juley & Son; exhibition announcements and catalogs; and a scrapbook of clippings, 1944-1969. REEL N70-24: Letters from Baziotes to his brother Christos, 1936-1951. Baziotes encourages Christos and another brother Harry in their art, and discusses employment on the WPA Easel Project, the New York art scene, teaching at the Brooklyn Institute of Arts and Sciences and at New York University, his relationships with Paul Bodin, Clement Greenberg, Samuel Kootz, Francis Lee, Joan Miro, and Robert Motherwell. REEL 347: Business correspondence, mainly with the Samuel M. Kootz Gallery, letters to Ethel Baziotes, 1962-1972, including letters of condolence; photographs of Ethel Baziotes, Rudi Blesh, Nathan Halper, Harriet Janis, Ethel Schwabacher, Maurice Sievan, Clyfford Still, and others; newspaper and magazine articles; and exhibition announcements and catalogs. REELS 4984-4985: Letters to William, ca. 1940-1990, including congratulatory notes upon being awarded a prize at the Art Institute of Chicago, 1947; letters to Ethel from John Canaday, John (Giovanni) Castano, Gerome Kamrowski, Gordon Onslow-Ford, Gertrud Schumm, Ethel Schwabacher, Byron Vazakas, and museums and galleries regarding exhibiting William's works of art including the Solomon R. Guggenheim Museum's retrospective, 1964, and Newport Harbor Museum's retrospective exhibition, 1987; business letters and a record of sales from the Samuel M. Kootz Gallery, 1952-1957; an untranscribed interview of Harry Baziotes conducted by F. Ricci for "Art in Review," 1982 (1 cassette); writings by William, ca. 1950, Ethel, 1972, 1992, n.d., and others, including Schwabacher, 1971, 1972; a sketchbook, 1960-1961; a portrait of William by Peter A. Juley & Son, ca. 1953; photographs ca. 1900-1978, of family and friends, including Meir Bernstein (Meir Bernshtin) and his studio, Paul Bodin, Michel Licht, Maria Motherwell, Pablo and Maia Picasso, Orlando Zulueta, and others; photos of works of art by William including the Crystal Restaurant murals in Reading, Pa., 1941-1942; exhibition announcements and catalogs 1944-1992; clippings, 1944-1991; and auction catalogs, 1965, 1981-1992. UNMICROFILMED: An untranscribed interview of Harry Baziotes conducted by F. Ricci for "Art in Review," 1982 (1 cassette); miscellaneous printed material not related to Baziotes; and slides of the Baziotes residences. Bio / His Notes: Abstract expressionist painter; New York City. Born in Pittsburgh, Pa., Baziotes moved to New York City in 1933, where he studied painting at the National Academy of Design, 1933-1936. He participated on the Works Progress Administration's Federal Art Project as a teacher, 1936-1938, and painted for the Easel Painting Project, 1938-1940. In 1941 he married Ethel Copstein. He had his first one-man show at Peggy Guggenheim's Art of This Century Gallery in 1944. Baziotes taught at Subjects of the Artist, 1948; the Brooklyn Museum Art School; New York University; 1949-1952; the People's Art Center at the Museum of Modern Art, 1950-1952; and Hunter College, 1952-1962. Died June 1963, at age 52. |
| extent | 7.3 linear ft. (on 5 microfilm reels) reels N70-21, N70-24, 347, and 4984-4985 |
| formats | Sound Recording Interviews Correspondence Photographs Sketchbooks |
| access | Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| finding aid | Finding aid available at AAA offices. |
| acquisition information | Donated by Ethel Baziotes, widow of William Baziotes, 1969-1993. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Oral history interview with Harold Lehman, 1997 Mar. 28. | repository | Archives of American Art |
| description | An interview of Harold Lehman conducted 1997 Mar. 28, by Stephen Polcari, for the Archives of American Art. Lehman speaks of his early educational and artistic experiences in New York; taking sculpture classes; moving to California; going to school at Manual Arts; going to Ojai and learning the religious philosophy of Krishnamurti; participating in literary discussion groups and the books he read; his years at Otis Art Institute; working with Sisqueiros, and how the frescoes they created were destroyed by the Red Squad; when he became interested in painting; working with Lorser Feitelson; working with the Public Works of Art Project; moving back to New York and working with the Federal Arts Project; his experiences with Sisqueiros and the artist workshop they set up; his thoughts on the Molotov-Ribbentrop Pact, Stalin and Trotsky; his thoughts on social realism; the project he did on Rikers Island; doing mural art; breaking both his arms two months before the attack on Pearl Harbor and how he managed to stay out of the army; working on his mural in Woodstock; working on war bond painting for the government; his art work during the war years; recollections of Jackson Pollack and his interest in Indian Art; going to see the Picasso show; his artistic influences; his thoughts on America’s involvement in World War II; his life after the war and what inspired him; his memories of Phil Guston; thoughts on Harold Rosenberg and Clement Greenberg; his life after the war, and other recollections about his life and friends. He recalls Max Maikowski, Jean de Laffiere, Rutolo, Frederick J. Schwankovsky, Phil Guston, Jackson Pollack, Manuel Tolegian, Rueben Kadish, George Stanley, Roger Noble Vernon, D.A. Siqueiros, Luis Arenal, Lorser Feitelson, Helen Lundberg, Leo Katz, Merle Armiduke, Stanley McCoy, Axel Horr(Horn), Carla Mahl (Clara Moore), Louie Serstadt, Diego Rivera, Jose Orozco, Arnold Blanch, Harold Rosenberg, Clement Greenberg, Arnold Blanch, and many others. Bio / His Notes: Harold Lehman (1913-2006) was a painter, lithographer, designer, and sculptor from New York, N.Y. |
| extent | 7 sound cassettes (560 min.): analog. Transcript: 144 p. |
| formats | Interview Sound Recording Transcript Online Transcript |
| access | Contact repository for restrictions and policies. |
| record link | http://www.aaa.si.edu/collections/oralhistories/transcripts/Kaufma85.htm |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Oral history interview with Ilya Bolotowsky, 1968 Mar. 24 - Apr. 7. | repository | Archives of American Art |
| description | Interview of Ilya Bolotowsky conducted 1968 Mar. 24 - Apr. 7, by Paul Cummings, for the Archives of American Art. Bolotowsky, a lively raconteur, recalls a host of episodes from his personal and professional life. He speaks of his childhood in Russia and Azerbaijan; the effects of war and communism; the family's flight as refugees into Georgia and then to present-day Istanbul; and his early education with a private tutor and at a Jesuit school in Istanbul. Bolotowsky recalls his family's emigration to the United States by ship in 1923; his first impressions of New York City; and early visits to the city's museums. He relates numerous anecdotes about faculty and fellow students at the National Academy of Design, including Ivan Olinsky, Raymond Neilson, Charles Hawthorne, Amedee Ozenfant, and William Henry Johnson. He speaks of various early exhibitions of his work, including those with the Art Students League, G.R.D. Studio, and the J.B. Neumann Gallery. He also describes a stay at Yaddo in 1934. Bolotowsky recounts his participation in the Public Works of Art Project as a teacher of art to delinquent children; later work on the mural project of the Works Progress Administration; the picketing of WPA offices, providing anecdotes about Max Spivak and Joseph Vogel; military service during World War II, first working on a Russian dictionary of technical terms and then as a liason officer with the Soviet Air Force in Nome, Alaska. Upon his return from the military, Bolotowsky immediately resumed his painting career, and describes his involvement with artists' organizations such as the American Abstract Artists, the American Artists' Congress, the Concretionists, the Federation of Modern Painters and Sculptors, and the Ten; he mentions in these contexts such personalities as Byron Browne, Burgoyne Diller, Werner Drewes, Arshile Gorky, Clement Greenberg, Balcomb and Gertrude Greene, Harry Holtzman, Fernand Leger, Piet Mondrian, and Meyer Schapiro. Bolotowsky gives an extensive description of his experiences filling in for Joseph Albers for a year at Black Mountain College, and goes on to discuss his subsequent teaching positions at the University of Wyoming (including a discussion of the impact of the Wyoming landscape on his painting), Brooklyn College, Southampton College, and SUNY New Paltz. He devotes great attention to the development of his painting, his understanding of neo-plasticism and abstraction, and his efforts in filmmaking and playwriting. Bio / His Notes: Ilya Bolotowsky (1907-1981) was a Russian-American abstract painter in New York, N.Y. |
| extent | 2 sound tape reels (6 hours) ; 7 in. Transcript: 197 p. |
| formats | Interview Sound Recording Transcript |
| access | ACCESS RESTRICTED; written permission required. |
| record source | http://www.siris.si.edu/ |
| finding aid | An index is included at the end of the transcript. |
| acquisition information | These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. Funding for the interview was provided by the New York State Council on the Arts. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Peter Agostini interview, 1968. | repository | Archives of American Art |
| description | An interview of Peter Agostini conducted by Colette Roberts for the Archives of American Art at 151 Avenue B, New York, N.Y., in 1968. Mr. Agostini speaks of his childhood spent living throughout the five boroughs of New York; his interactions with clients of his father's acting employment agency; his early education in Catholic school and the creative freedom allotted by the nuns; his first feelings of isolation as an artist at the age of seven; the development of a sense of communication as the result of the loss of his mother at the age of three and time spent at a school for orphans; his early realization and vision of artistic destiny; his religious interests which lead to mysticism in his earlier work; his time spent working freely in the DaVinci Studio with Spaventa; the discovery by Hess of his works in Gallerie Grimaud; his attainment of the Longview Grant; his working experience throughout the Depression as part of the WPA casting plaster mannequins while working indirectly with Pollack as well as Marca Relli; his subsequent move to designing department store windows (use of Mondrian-like forms and lines); his feelings of his position as an observer; the importance of communication through art (communication without words); his rejection of the Abstract Expressionist group and choice of independence; the influence of the sculpture of Kolbe and Bache in the thirties; Clement Greenberg's distaste for his work; his feelings about the relative failure to sell his work due its unusual edginess and mystery; his role in the introduction of the work of contemporary European artists (Chausserian, Gauthier, Modrian) to the American group; his description of his own work as "traditionless"; his feelings of self-importance as one of the most original sculptors in the art world; his influence on the younger generation, particularly Marisol; the enslavement to originality that the younger generation faces; his attitudes towards American Art forms and their lack of rebellious spirit; the virtues of the American writers, such as Poe, Whitman, and Melville as American "knapsack" writers; his personal technique which places an emphasis on the "skin" or volume of something; his attempt to create quiet art, or art that merely indicates features; his frustration with teaching and the problems of regurgitated knowledge; the role of Myer Shapiro in his teaching career at Columbia; the formation of the Club and its similarity to the Cubist's café scene; his opinions on the relationship of sex and sensuality in American art; his personal struggles, including the loss of his second wife and two of his brothers in addition to the estrangement of his only daughter by his first wife; his feelings on the role of psycho analysis and personal history in a work of art; his present works which feature the "swell." For the majority of the second half of the interview Ms. Roberts asks Mr. Agostini to express his opinions on the work of: Kline; DeKooning; Duchamp; Oldenberg; La Tour; DeChirico; Maillol: Pompon; Rothko; Chardin; Cezanne; Giacometti; Reinhardt; Chryssa; Tony Smith; Segal; Lachaise; Zorach; Manship; Flannagan; Kelly; Lassaw; David Smith; Hare; Lipton: Ferber; Lippold; Roszak; Nakian; Noguchi; Hague; Kohn: di Suvero; Chamberlain; Kaprow; Sugarman; Stankiewicz; Bontecou; Scarpitta; Cornell; Keinholz; Rivera; judd; Robert Morris; O'Keefe; Samaras; Mark Tobey; Marin; Pollock; Hartley; Dove; MacDonald-Wright; Demuth; Sheeler: Hopper; Mirot; Matisse; DuBuffet. Bio / His Notes: Sculptor; New York, N.Y. Born 1913. Died 1993. |
| extent | Transcript: 99 p. |
| formats | Interview Transcript |
| access | Contact repository for restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators. Location of Original: Location of original tapes unknown. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Oral history interview with Fairfield Porter, 1968 June 6. | repository | Archives of American Art |
| description | An interview of Fairfield Porter conducted by Paul Cummings for the Archives of American Art. Porter speaks of his family background and Harvard education; the Art Students League; his involvement with Marxism and his work as an art critic for ART NEWS and THE NATION. He discusses his portrait commissions, his choice of subject matter, theories of realism versus abstraction and drawing versus color, and the role of the unconscious and the accidental in his art. He recalls Thomas Hart Benton, Jacques Maroger, Elaine and Willem de Kooning, Walter Auerbach, Thomas B. Hess, Clement Greenberg, and Alex Katz. Bio / His Notes: Fairfield Porter, b. 1907; d. 1975, Painter, critic of Southampton, New York. Additional forms: Transcript available on line. Bio / His Notes: Fairfield Porter, b. 1907; d. 1975, Painter, critic of Southampton, New York. |
| extent | 1 sound tape reel (3 hours, 30 min.) ; 7 in. Transcript: 65 p. |
| formats | Interview Sound Recording Transcript Online Transcript |
| access | Transcript available on the Archives of American Art website. |
| record link | http://www.aaa.si.edu/collections/oralhistories/transcripts/porter68.htm |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Oral history interview with Helen Frankenthaler, 1969 | repository | Archives of American Art |
| description | An interview of Helen Frankenthaler conducted 1969, by Barbara Rose, for the Archives of American Art. Frankenthaler speaks of studying art at Bennington College with Paul Feeley; the influence of Picasso and Kandinsky on her work; Clement Greenberg and his relationship with Frankenthaler and other artists; studying with Hans Hofmann and Rufino Tamayo; her childhood; meeting Robert Motherwell; the New York School; and Jackson Pollock, his paintings, technique, and influence on her. She also describes her technique, painting on the floor, titles, and color versus drawing. Frankenthaler recalls Grace Hartigan, Friedel Dzubas, Willem de Kooning, and others. Bio / His Notes: Helen Frankenthaler (1928-) is a painter from New York, N.Y. |
| extent | 1 sound tape reel ; 7 in. Transcript: 34 p. |
| formats | Interview Sound Recording Transcript |
| access | Sound quality is poor. Use requires an appointment. ACCESS RESTRICTED; written permission required. |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Oral history interview with Hedda Sterne, 1981 Dec. 17. | repository | Archives of American Art |
| description | An interview of Hedda Sterne conducted 1981 Dec. 17, by Phyllis Tuchman, for the Archives of American Art's Mark Rothko and His Times oral history project. Sterne remembers Mark Rothko's personality and relations with other artists. She recalls her involvement with a roundtable discussion in 1950, and describes seeing Rothko shortly before his death. Sterne goes on to speak about her childhood in Romania, art education in Paris and Vienna, and emigration to America in 1941. She describes the New York gallery scene of the 1940s and 1950s, the evolution of her work through the years, and her painting habits. She recalls Peggy Guggenheim, Clyfford Still, Milton Avery, Ad Reinhardt, Barney Newman, Clement Greenberg, and others. Additional forms: Transcript available online. Bio / His Notes: Hedda Sterne, 1916-, painter of New York, N.Y. |
| extent | 2 cassettes : analog. Transcript: 27 p. |
| formats | Interview Sound Recording Transcript Online Transcript |
| access | Transcript is available on the Archives of American Art's website. |
| record link | http://www.aaa.si.edu/collections/oralhistories/transcripts/sterne81.htm |
| record source | http://www.siris.si.edu/ |
| acquisition information | This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation. Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Aaron Siskind, Joseph Solman, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately. Funding provided by the Mark Rothko Foundation. |
| updated | 11/12/2014 11:30:10 |
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| title | Oral history interview with Susan Crile, 1972 Aug. 1-3. | repository | Archives of American Art |
| description | Interview of Susan Crile conducted 1972 Aug. 1-3, by Paul Cummings, for the Archives of American Art. Crile speaks of her family background; having polio and problems with her eyesight; her education at Connecticut College, Bennington College, and New York University; art criticism; her teachers, including Lawrence Alloway, Paul Feeley, Jules Olitski, Tony Smith, and Esteban Vicente; Clement Greenberg's theories and relationships with artists; forming a discussion group with painters, poets, and musicians; working in pastel; her still lifes and "rug paintings"; color; and the artist's need for emotional support. Bio / His Notes: Susan Crile (1942-) is a painter from New York, N.Y. |
| extent | 2 sound tape reels ; 5 in. Transcript: 101 p. |
| formats | Sound Recording Transcript |
| access | Use requires an appointment. ACCESS RESTRICTED; written permission required. |
| record source | http://www.siris.si.edu/ |
| acquisition information | These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Oral history interview with Kenneth Noland, 1987 July 1-16. | repository | Archives of American Art |
| description | An Interview of Kenneth Noland conducted 1987 July 1-16, by Avis Berman, for the Archives of American Art. Noland speaks of his interest in working in series, as influenced by David Smith; the influence of other artists and art movements, and the problems caused by this influence; the Washington art scene in the 1950s; self criticism; his philosophy of drawing; subject matter and content; abstract expressionism and its development; painting and its relationship to architecture; collectors; his work in sculpture; the relationship of sculpture to his painting. He recalls David Smith, Jacob Kainen and Clement Greenberg. Bio / His Notes: Kenneth Noland (1924-2010) was a painter, educator in South Salem, New York, and friend of David Smith. |
| extent | 3 sound cassettes Transcript: 81 p. |
| formats | Sound Recording Transcript |
| access | Contact repository for restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| acquisition information | These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Cezanne and twentieth-century art [sound recording] | repository | The Museum of Modern Art |
| description | Series Cezanne studies, a week of specialized symposia. Performer Principal speakers: Edward Fry and Clement Greenberg; John Elderfield, George Heard Hamilton, Marianne L. Teuber Event details October 11, 1977; 2:30 p.m.; MoMA Founders' Room. |
| extent | 1 sound tape reel (both sides) : 3 3/4 ips ; 7 in. |
| formats | Sound Recording |
| access | The records are open for research and contain few restricted materials. |
| record link | http://www.moma.org/learn/resources/archives/EAD/SoundRecordingsf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991006908409707141 |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | States of art [sound recording] | repository | The Museum of Modern Art |
| description | Found In Forms part of: Museum of Modern Art (New York, N.Y.). Archives. Sound recordings. Series American art since World War II. Note One of ten lectures. Performer Introduction: Barbara Jakobson. Event details May 8, 1968; 8:30 p.m.; MoMA Auditorium. |
| extent | 1 sound tape reel (one side; single track) : 3 3/4 ips ; 7 in. |
| formats | Sound Recording |
| access | Contact repository for restrictions and policies. |
| record link | http://www.moma.org/learn/resources/archives/EAD/SoundRecordingsf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991006935629707141 |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | Lucy R Lippard Oral history, 1999. | repository | The Museum of Modern Art |
| description | Ms. Lippard discusses her family background, education and early influences, including her involvement in the art world. She revisits her employment at MoMA in the Library from 1958 to 1960, and subsequent free-lance work there. Included are descriptions of Bernard Karpel, Pearl Moeller and other Museum staff from the early 1960s. Ms. Lippard chronicles her life on the Lower East Side, her active participation in New York City's art community, and her later career as a free-lance writer, curator, art critic and political activist. Ms. Lippard includes anecdotes regarding the establishment of the union at MoMA, and the activities of the Art Worker's Coalition and the Women's Movement. Biographical/historical note MoMA staff member, curator, art critic, political activist; born in 1937. Location Transcripts with interviewee's notes housed at Rockefeller Archive Center; not available to researchers. Original recordings housed at Rockefeller Archive Center. Transcripts with interviewee's notes housed at Rockefeller Archive Center; not available to researchers Note Forms part of: The Museum of Modern Art (New York, N.Y.). Archives. |
| extent | sound recording 2 sound cassettes; transcript 1 v. (86 p.) |
| formats | Sound Recording Transcript |
| access | Contact repository for restrictions and policies. |
| record link | http://www.moma.org/learn/resources/archives/EAD/SoundRecordingsf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991012591339707141 |
| finding aid | Name index available. |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | Clement Greenberg papers, 1928-1995 | repository | The Getty Research Institute |
| description | The papers document Greenberg’s personal and intellectual development from age nineteen until his death. Greenberg’s letters to Harold Lazarus, together with the journals, tell of the critic’s artistic and literary ambitions, his obsession with Partisan review colleagues, and his friendship with artists such as Pollock, Frankenthaler, and Noland. Manuscripts, seminars, and lectures, unpublished and published, reveal Greenberg’s writing process and the evolution of his ideas from the 1920s until his death. Work files include clippings and writings on Jackson Pollock, David Smith, Morris Louis, and Jack Bush. The compilation of clippings spanning several decades portray the shifting public view of Greenberg, while photographs and tapes preserve a visual and audio record of him lecturing and otherwise interacting in the art world. Diaries, journals, and select correspondence sealed. The repository also has three rolls of microfilm of the unrestricted portion of the Clement Greenberg papers held at the Archives of American Art. Additional Formats: Videocassettes (V1-V13), audiocassettes (C1-C8) and Film (F1), available in use copies. Originals/Duplicate Location: Clement Greenberg Papers. Archives of American Art, Smithsonian Institution; AA-PG Building, 8th & F Streets, N.W., Washington, D.C. 20560. Issuing Body Note: Unpublished inventory of the microfilm of the Greenberg Papers held by the Archives of American Art available in the research file. |
| extent | ca. 25 linear ft. (45 boxes) + ADDS (5 boxes) |
| formats | Correspondence Manuscript Writings Clippings Video recording |
| access | Open for use by qualified users. Restrictions on use: 18 Journals were sealed for 10 years (until 2005); 14 Journals are sealed for 20 years (2015); 30 Diaries are sealed for 15 years (2010), 2 with Helen Frankenthaler are sealed for 35 years (2030) or until 10 years after her death, whichever is later. Letters from John and Vera Russell are sealed for 20 years or until the deaths of the correspondents, whichever is later. Letters from Helen Frankenthaler are sealed for 35 years or until 10 years after her death, whichever is later. Audio-visual materials in box 45 and ADDS Box 5 unavailable until reformatting is complete. |
| record link | http://archives2.getty.edu:8082/xtf/view?docId=ead/950085/950085.xml;query=;brand=default |
| record source | http://hdl.handle.net/10020/cat356297 |
| finding aid | Unpublished finding aid available in the repository; folder-level control. Unpublished inventory of the microfilm of the Greenberg Papers held by the Archives of American Art available in the research file. |
| acquisition information | Acquired in 1995 from Clement Greenberg's widow, Janice Van Horne. 5 boxes of additions were received 2004: papers (2.5 lin. ft., unprocessed), a videotape and 2 audio cassette tapes (processed and reformatted). |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Anne Truitt Papers, 1940-1989. | repository | Bryn Mawr College |
| description | Correspondence, journals, interviews, speeches, printed materials, and photos. Correspondents include Helen Frankenthaler, Clement Greenberg, and Kenneth Noland. Bio/History: Sculptor and painter; b. Anne Dean. |
| extent | 30 linear ft. |
| formats | Correspondence Journals Writings Printed Materials Photographs |
| access | Contact repository for restrictions and policies. |
| record source | http://tripod.brynmawr.edu |
| finding aid | Finding aid in the repository. |
| acquisition information | Gift of A. Truitt, 1988 |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Artist file : miscellaneous uncataloged material. | repository | The Museum of Modern Art |
| description | The folder may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material. Biographical/historical note d. May 7, 1994. Location MoMA Queens Artist Files Call Number Greenberg, Clement. |
| extent | 1 folder |
| formats | Ephemera |
| access | Contact repository for restrictions and policies. |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991010721649707141 |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | Greenberg, Clement : [photography bio file]. | repository | The Museum of Modern Art |
| description | The file may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material filed through 2000; after 2000 all material is filed in the Library's artist files. Location MoMA Queens Photo Bio File Call Number Greenberg, Clement |
| extent | 1 folder |
| formats | Ephemera Clippings |
| access | Contact repository for restrictions and policies. |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991012216089707141 |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | Arthur Mones photographs of art critics and historians, 1981. | repository | The Getty Research Institute |
| description | Four portrait photographs of John Rewald, Meyer Schapiro, Robert Rosenblum and Clement Greenberg, signed on the verso by the photographer. Bio/History: American photographer, author of "Artists in photographs" (N.Y., 1981). Location: SPECIAL COLLECTIONS - CONTACT REFERENCE Call Number: 870521* |
| extent | 4 items |
| formats | Photographs |
| access | Open for use by qualified researchers. |
| record link | http://hdl.handle.net/10020/cat104911 |
| record source | http://library.getty.edu/vwebv/searchBasic |
| acquisition information | gift of Arthur Mones |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Charles Harrison miscellaneous papers regarding an interview with Clement Greenberg, 1982-1991 (bulk 1983-1984) | repository | The Getty Research Institute |
| description | Miscellaneous papers regarding an interview with Clement Greenberg on the priorities and obligations of art criticism, conducted by Trish Evans and Charles Harrison on November 20, 1983. The papers include correspondence between Evans, Harrison and Greenberg, a sound recording of the interview on two audio cassettes, manuscript notes taken by Evans during the interview, notes for transcripts, various uncorrected and corrected manuscripts and typescripts, letters concerning publication of the interview, and copies of the three consecutive issues of Art monthly in which the interview was printed. Additional materials include Harrison’s 1991 letter to Greenberg requesting permission to reprint material in Art in theory, and Greenberg’s reply, and the typescript of a poem Harrison sent to Greenberg in 1982. Notes: The interview with Clement Greenberg was published in three parts in the February, March, and April 1984 issues of the English journal Art Monthly. Annotated typescript inscribed CH: uncorrected typescript, is missing pages 9-12. Annotated typescript inscribed CH: corrected typescript, is missing pages 9-12. Annotated typescript without identifying inscription is missing page 21. Location: SPECIAL COLLECTIONS Call Number: 2004.M.32 |
| extent | ca. 1 linear ft. (2 boxes) |
| formats | |
| access | Unprocessed collection; contact repository for information regarding access. Audio visual materials unavailable until reformatting is complete. |
| record link | http://hdl.handle.net/10020/cat647520 |
| record source | http://library.getty.edu/vwebv/searchBasic |
| finding aid | Preliminary inventory available in the repository; item level control. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Barbara Rose Papers, 1940-1993 (bulk 1960-1985). | repository | The Getty Research Institute |
| description | The Barbara Rose Papers represent a selection from her archive and document her research in post-war and contemporary American art. The bulk of the papers date from 1960 through 1985. Manuscript and research files on American artists, primarily of the post war era, and especially rich for the New York art world contain Rose's research notes, some correspondence (primarily from others), photographs and slides, and drafts of manuscripts for articles, catalogues and books, some unpublished. The most extensive files concern research (1978-1979) for an exhibition and catalogue on the artist Patrick Henry Bruce for the Museum of Modern Art, New York, 1979, and files about collaborations between science and art, including the Experiments in Art and Technology (Organization) project to build the Pepsi-Cola Pavilion at the 1970 Exposition in Osaka, and the related art and technology program at the Los Angeles County Museum of Art, 1967-1971. Much of Rose's research consists of interviews with artists, and a few dealers, curators and printmakers. These date from ca. 1960 through ca. 1990. More than 100 interviews are here in transcriptions, some partial and heavily edited, and on cassette tapes and 1/4 inch audio tape reels. The Claes Oldenburg interviews are the most extensive with ca. 50 transcript pages and 21 cassette tapes. Six videotapes document exhibits, symposia and lectures. Correspondence with artists, curators and historians is scattered throughout the research files. In addition there are several concentrated files (ca. .5 linear ft.) of correspondence from Avigdor Arikha and his wife Anne, 1962-1977, and Mark Di Suvero, 1972-1973, 1975. Two letters from Robert Motherwell, 1966, discuss the post-war New York art scene. There are 4 letters from Frank Stella, with 2 short manuscripts about painting, and photographs of Islamic decoration taken during a trip to Iran. Complementing these files are ca. 200 black & white photographs of artists dating from ca. 1940 through 1992. Oldenburg's "Ray Gun" poster, signed and dated 1971, is an artifact from The Store Additional Formats: Use copies are available for all audio cassette tapes (C1-C147) and all reel-to-reel tapes (R1-R13). See research file for inventory. |
| extent | 11 linear ft., 40 boxes |
| formats | Manuscript Research Files Correspondence Transcript Photographs |
| access | Open for use by qualified researchers. |
| record link | http://archives2.getty.edu:8082/xtf/view?docId=ead/930100/930100.xml;query=;brand=default |
| record source | http://hdl.handle.net/10020/cat322207 |
| finding aid | Online and unpublished finding aid available in the repository |
| acquisition information | This collection comprises selected papers acquired from Barbara Rose in 1993. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Correspondence to Edward F. Fry, 1971. | repository | University of Pennsylvania |
| description | Regarding Fry’s research on David Smith. Contained in: Edward F. Fry Papers. Folder 248 Location: Rare Book & Ms Library Manuscripts Call Number: Ms. Coll. 651 |
| extent | 1 item (1 leaf) |
| formats | Correspondence |
| access | Contact repository for restrictions and policies. |
| record source | http://www.franklin.library.upenn.edu |
| updated | 11/12/2014 11:30:10 |
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